By Stephen M. Hart, Wen-chin Ouyang
This new spouse to Magical Realism presents an evaluate of the world-wide influence of a move which was once incubated in Germany, flourished in Latin the United States after which unfold to the remainder of the realm. It offers a collection of updated tests of the paintings of writers frequently linked to magical realism equivalent to Gabriel GarcÃa MÃ¡rquez (in specific his lately released memoirs), Alejo Carpentier, Miguel ngel Asturias, Juan Rulfo, Isabel Allende, Laura Esquivel and Salman Rushdie, in addition to bringing into the fold new authors similar to W.B. Yeats, Seamus Heaney, JosÃ© Saramago, Dorit Rabinyan, Ovid, MarÃa Luisa Bombal, Ibrahim al-Kawni, Mayra Montero, Nakagami Kenji, JosÃ© Eustasio Rivera and Elias Khoury, mentioned for the 1st time within the context of magical realism. Written in a jargon-free variety, and with all quotations translated into English, this booklet deals a clean new interdisciplinary slant on magical realism as a world literary phenomenon rising from the trauma of colonial dispossession. The spouse additionally has a advisor to additional interpreting.
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Extra resources for A Companion to Magical Realism
It is my strong sense that Carpentier recognized the need for the Baroque as a counterbalance to his American marvelous real not for its elaborate ornamentation or for its dynamics of decentering or its theatrical space or its illusionism or its hyperbole – though all of these Baroque characteristics would prove useful; rather, I believe that he needed the Baroque for its realism. In interviews and essays, Carpentier repeatedly insists upon the realistic character of Baroque representation, and on the importance of Baroque realism to Latin American writers attempting to depict Latin America’s histories and people.
B. Yeats, Seamus Heaney, José Saramago, Dorit Rabinyan, Ovid, María Luisa Bombal, Ibrahim al-Kawni, Mayra Montero, Nakagami Kenji, José Eustasio Rivera and Elias Khoury have been analysed in the context of magical realism. The essays are grouped into four distinct though overlapping sections: (i) Genealogies, Myths, Archives, (ii) History, Nightmare, Fantasy, (iii) The Politics of Magic, and (iv) Empire, Nation, Magic. Each section has a short introduction summarising the focus and main points of the essays grouped together.
Despite the difference of their respective contextual settings – Ovid was writing during a period of peace and prosperity, García Márquez during a time of violence and corruption – One Hundred Years of Solitude and the Metamorphoses are characterised by a sense of belatedness and literary syncretism. Efraín Kristal, in ‘Lessons from the Golden Age in Gabriel García Márquez’s Living to Tell the Tale’, uses García Márquez’s autobiography as a means of deliving into different articulations of the Latin American archive, including ‘popular memory’, the story of the growth of the United Fruit Company, García Márquez’s family history (and its subsequent transformations within his novels), and the memory of Gaitán’s assassination which so traumatized the Colombian nation in 1948.